I love watching when deaf people talk to themselves.
Not to see what they're saying, but because it's good to know that it's not just me.
I love watching when deaf people talk to themselves.
Not to see what they're saying, but because it's good to know that it's not just me.
@Taika said in Descent Reboot:
Code-wise, I think the only thing still needing fixed is the XP system.
Dammit, I knew I was forgetting something.
Tomorrow, I think.
Some day I'm going to end up in jail or banned from my favored grocery store due to a confrontation that starts with telling someone that they skipped someone in line at the grocery and wouldn't get to the back of the line. Not that I can throw a punch but I can sure as hell stand in front of a cart and refuse to move.
FYI, this is a known issue with the version of the server code they're using. Sometimes the game will SIGSEGV and when the new game instance comes up it does not or possibly cannot kill the dead thread.
The easiest way I've discovered to identify which is which is to look for the game process that has been up the longest and forcefully kill it. The game itself has been running all that time on the newer thread, and everything will mostly be as it should.
@Ganymede said in Swashbuckling and continued success:
Might want to talk to @faraday about this. She's already built something like this, and it also uploads the scene to her game's wiki with a command. And, yes, the upload omits OOC stuff, pages, and whatever, keeping the rolls and the poses and emits.
Sure.
...
Hey @faraday! Hit me up on Skype!
...
Well at least I know she'll see it before starting a chat with her, given the number of times she's quit Soapbox.
(hee)
@Ganymede said in Swashbuckling and continued success:
@Apos said in Swashbuckling and continued success:
I think anything that's very episodic in feel has some issues translating to MUs, since it takes a lot of work to make an environment that can sustain itself between episodes that highlight the kind of high adventure vibe you want to capture.
BSG:U has a good way of doing this by moving the Dauntless (the ship from which the PC crew is based) from system to system. Faraday then posts a "setting post" to remind everyone of the crew's objectives at the system, and the general feel of being there.
If I create a major game system again, it will be a scene system, where a scene set is the room description, and when the scene moves locations the new setting information is posted for everyone there. This is halfway done for people who run big scenes already. A scene system would do much more, but the times I’ve used this before it got very good reception.
Have you contacted @mudrammer via his web site?
The Nintendo cards are notably better designed. It's always amazing how much little touches can make night-and-day differences.
@ThatGuyThere said in For Want of a Stat System:
@n0q
If you are looking for crunch have you thought about ShadowRun?
It has plenty of crunch in all four of those areas, and runs a bit faster than most heavy crunch systems.
I looked at coding ShadowRun for its chargen. I politely but hastily declined. I find Eclipse Phase's chargen a far easier ordeal for a tabletop situation; I can't begin to imagine how a Mu* would introduce people unfamiliar with the SR system.
Then again, I've been recently accused that I've gotten pretty damn lazy about learning new systems. Just let me tell someone an interesting character concept and they can give me the character sheet and I'd be happy.
@Cupcake said in What even is 'Metaplot'?:
@Thenomain said in What even is 'Metaplot'?:
Korra I don't think has a global metaplot. It has some smaller ones, such as Asami Sato's struggling with her father and inheriting a large corporation, but IMO that's the metaplot of the "and then this happens, solve it" variety. A character arc.
I think that would be the resolution of the alignment of the spirit and physical worlds, as well as the power dynamic of benders vs. non-benders.
The former was something that happened, absolutely a plot or a "plot arc" that is my second definition of metaplot. It was a metaplot in the same way as the testing of the nuclear bomb was a metaplot; it may have created larger situations, tho, such as the flash-return of the Airbenders. (Which was unexpected and so, so cool.)
The power dynamic between benders and non-benders I had forgotten about; the first season was about this situation but it's very clearly a thing that is a heavy pressure on the world that the characters are constantly working around. So yes, IMO, it's a metaplot.
@Gingerlily said in What even is 'Metaplot'?:
Or there's tons of them because show writers can't keep focus after a few seasons but I follow you!
I just thought of a more concrete example:
BSG: "33" was directly about the metaplot of "Cylons trying to kill all Humans (part one: What Do the Cylons Want?)", while most of the Presidency stuff wasn't. A lot if not all of BSG was either metaplot or directly caused or affected by the metaplot.
Fullmetal Alchemist: Brotherhood: Almost nothing of this series wasn't metaplot, and the characters did affect it come the end but each in their own smaller way, and there were times where they took a break from it because d'yamn.
I'd almost consider the events of Brotherhood to be a chronicle more than a metaplot, because it has a very distinct storyline and IMO metaplots do not.
Avatar: The Last Airbender: See above. The metaplot is stronger here, for me, because everything even in the fluff episodes is affected by "And Then The Fire Nation Attacked". It does have an ending, but the ending is far from a simple 'the end'. The effects continue, but the world has changed.
Korra I don't think has a global metaplot. It has some smaller ones, such as Asami Sato's struggling with her father and inheriting a large corporation, but IMO that's the metaplot of the "and then this happens, solve it" variety. A character arc.
BSG was not as tightly structured as FMA:B or A:TLA, but I see its metaplot just as strongly.
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edit because I just found an older thread on metaplot: http://musoapbox.net/topic/662/let-s-talk-metaplot
In there I said:
I'm going to stick (loosely, like a cat to the curtains) to my earlier statement that metaplot is what drives the world, or that corner of the world, or what drives the direction of the plots. A metaplot itself is not a plot, and touching it directly would be like walking to the horizon. You can get there, but it takes dedication and when you get there you've discovered something else.
I like this. I'm going to stick to this. It's a nice curtain, one I can really get my claws into.
This is not the only definition, because there is no definition. This is my preferred definition.
@Gingerlily said in What even is 'Metaplot'?:
- Examples of other types of plots that are appropriate for a game with metaplot
Any plot is appropriate for a game with metaplot. No plot should live in a vacuum so if a game has a metaplot of the "state-of-the-world" variety then the plot should be influenced by this, but the plot can also be what happened when we went out on Thursday Night that I can't remember because magic was involved.
Take a TV show with a plot arc, and there's an episode or a situation that barely touched on that plot arc if at all. That's always okay.